Pixel Weave Monalisa Karipetra nataon'i Hana Mitsui

Ny endrika Pixel Weave Monalisa Karipetra nataon'i Hana Mitsui dia mpandresy sarobidy amin'ny 2025 A' Design Award Varahina amin'ny Sokajin'ny Fifanintsanana Famolavolana Teksitila, Lamba, Endrika, Lamosina ary Lamba.

VarahinaTeksitila· 2025

Pixel Weave Monalisa Karipetra

nataon'i Hana Mitsui

Mpanjifa: Hana Material Design Laboratory inc.

Mpandresy A' Design Award Varahina amin'ny Sokajy Teksitila

31,646

Mpandresy Loka Voamarina

Hanamarina ny Sata Loka ho an'ny #170574

Tsidiho ny Tranonkala Jereo ao amin'ny A' Design Award Fanambarana ho an'ny Mpanao Gazety Marika Loka

Loko

Ny Endrika

Momba ny Pixel Weave Monalisa Karipetra

Hana Mitsui dia mandika indray ny fanenomana tatami japoney nentim-paharazana amin'ny alalan'ny Mona Lisa vita pixel amin'ny ahitra Igusa. Miara-miasa amin'ny mpahay tatami, izy dia mandinika ny fomba ahafahan'ity fitaovana efa ela ity mifanerasera amin'ny fiteny hita maso ankehitriny. Tamin'ny fandinihana ny fitoviana hita maso eo amin'ny tenona tatami sy ny grid pixel nomerika, Mitsui dia namorona fomba iray hanehoana ny feo malefaka amin'ny alalan'ny endrika azo tsapain-tanana, toy ny pixel. Ny vokatra dia manasongadina ny fifanakalozan-kevitra mangina eo amin'ny fomban-drazana sy ny fomba fijery maoderina. Ny fanaony dia maneho ny fahalianana mitohy amin'ny fandikana ny lova kolontsaina ho lasa fanehoana hita maso vaovao.

Ny Fankasitrahana

Momba ny A' Design Award Varahina

Nandresy ny A' Design Award Varahina ny famolavolana Pixel Weave Monalisa Karipetra, fankasitrahana malaza be omena ny famolavolana miavaka izay mampiavaka ny fahaiza-mamorona, ny fahazotoana ary ny fahamaotinan-tsaina. Ny mpandresy Varahina dia zavatra vita tanana mahay dia mahay ary mamorona mivantana izay manamafy ny traikefa be dia be, ny sarintsaina ary ny fahaizan-kafoy an'ny mpamolavola azy. Andrasana ho zavatra ankasitrahana be, ankafizina ary tiana, mahay amin'ny asa sady vaovao ny famolavolana Pixel Weave Monalisa Karipetra. Ity famolavolana nandresy ny A' Design Award Varahina ity dia mitahiry ny fomba fanao tsara indrindra amin'ny zavakanto, ny siansa, ny famolavolana ary ny teknolojia, ary tsara indrindra amin'ny fitandremana ny antsipirihany. Ny famolavolana Pixel Weave Monalisa Karipetra dia mahafa-po ny filana tsara, mikasika ny faniriana, mahasarika ny fihetseham-po ary misarika ny fahalianana.

Ao Ambadiky ny Endrika

Fitaovana ho an'ny Mpanao Gazety

Fankasitrahana, mpikambana ao amin'ny ekipa ary antsipiriany teknika nomen'ny mpanao endrika.

Toetra Manokana: Transforming traditional Japanese tatami weaving, I set out to explore new possibilities for Igusa grass.
I noticed a compelling visual similarity between the geometric patterns of tatami and the pixel grid of digital imagery. Inspired by this connection, I developed a weaving technique using Igusa grass that captures painterly impressions through pixel-like expressions.
By carefully blending the natural hues of Igusa, the image of the world-renowned Mona Lisa emerges—subtle, tactile, and reimagined through a uniquely Japanese material language.
The strength of this design lies in its ability to present tatami an everyday, familiar presence in Japanese life from a fresh perspective, refracted through the iconic gaze of the Mona Lisa.
It reveals the untapped potential within our daily surroundings, reminding us that even the most ordinary materials can be transformed into something artistic and profound.
Refy & Fonosana: Dimensions: 1,760 mm (W) × 880 mm (H) × 5 mm (D)
Marika: Weave, Textile, Pixel, Craft, Rug, Art, Mona Lisa, Igusa grass, Tatami
Teknolojia Famokarana: This piece was produced using the same specialized machines used to weave traditional Japanese Tatami and Goza mats. Japan has unique looms specifically designed for Igusa, and these were essential in bringing this design to life. As the Igusa industry is a small, closed circle, collaborations with designers are rare, making this a new creative challenge for the artisans involved.
After choosing the Mona Lisa as the motif, I created a pixelated version and worked closely with the craftspeople to translate it into a weave structure. We exchanged data many times to adjust the pattern, then programmed the loom for production. Since Igusa is resistant to dye, the finished piece was coated to fix the colors. Through many stages, this design was carefully crafted into a new expression of Igusa.
Fanamby Endrika: This project marked my first experience working with Igusa weaving.
Since Igusa is typically used for everyday household items, creating a large-scale jacquard weave for an artwork like this is quite rare.
Collaborating closely with skilled artisans, I carefully considered the weave structure and color combinations, aiming to achieve maximum expression within the technical limitations of the material.

At the same time, I also focused on ensuring the functionality of the piece as a rug, designing the weave with strength and durability in mind.
This design is the result of merging my background in textile design with newly acquired knowledge of Igusa—bringing together both experience and experimentation in a truly integrated way.
Fikarohana: Colorfully dyed Igusa mats woven with the Kakegawa-ori technique represent a rare and refined tradition, even within Japan. In recent years, however, many younger generations are unaware of the existence of such vibrant tatami, and the craft itself is at risk of fading into obscurity.

Having grown up in a home without tatami, I had little familiarity with it. It wasn’t until a work trip to Fukuoka that I encountered Kakegawa-ori in daily use. I was deeply moved by the beauty of this weaving method seamlessly integrated into everyday life, and at the same time, I felt a strong sense of loss and urgency in realizing how this cultural heritage is gradually disappearing.

This experience inspired me to launch the project, with the aim of reintroducing the value and beauty of this technique to a wider audience. I selected the Mona Lisa as the central motif because it is an iconic image recognized by virtually everyone, even those with no particular interest in art. It naturally captures attention, and its pixelated form retains a clear visual identity—making it especially well-suited to this method of expression.

The work succeeded in drawing attention at the exhibition, encouraging many viewers to engage with this traditional craft from a fresh perspective.
Aingam-panahy: This work was born out of a deep sense of urgency around the rapid decline of Japan’s Igusa culture.
Traditionally used in tatami mats suited to Japan’s humid climate, Igusa grass has seen a dramatic decrease in demand due to modern lifestyle changes, with farms now reduced to just one-twentieth of their peak.

To keep this heritage material alive for future generations, I sought to reframe Igusa in a contemporary context bridging traditional craftsmanship with digital aesthetics to explore new, sustainable possibilities for this time-honored material.
Faharetan'ny Tetikasa: The project began in Fukuoka, Japan in September 2024 and was completed in December 2024.
It was also showcased at a major design event, DESIGNTIDE TOKYO, held in Tokyo in December 2024.
Fizotr'asa: This piece is an art rug made using traditional Japanese tatami techniques. Though it may look like a digital image, it is handwoven entirely from natural Igusa grass. The portrait of the Mona Lisa appears through pixel-like colored squares—abstract up close, but clear from a distance. It requires no special operation and can be used freely as a floor mat or wall piece. The natural texture and scent blend tradition with contemporary design.
Patanta: [Copyrights : Hana Mitsui,2025]
Loharanon-tsary: [ Image#1,2,3,4 and 5 : Photographer:Naoaki Yokota]